April 19 and 20, 2013

AMERICANSYMPHONYORCHESTRA

the richard b. fisher center

for the performing arts at bard college

About The Richard B. Fisher Center for the Performing Arts at Bard College

The Richard B. Fisher Center for the Performing Arts, an environment for world-classartistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in2003. Risk-taking performances and provocative programs take place in the 800-seatSosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which fea-tures a flexible seating configuration. The Center is home to Bard College’s Theater &Performance and Dance Programs, and host to two annual summer festivals:SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard MusicFestival, which celebrates its 24th year in August with “Stravinsky and His World.” The2014 festival will be devoted to Franz Schubert.

The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’sBoard of Trustees. This magnificent building is a tribute to his vision and leadership.

The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their supportand welcome all donations.

©2013 Bard College. All rights reserved.Cover The Arrival of Lohengrin in Antwerp, August von Heckel, 1882–83. ©Schloss Neuschwanstein, Bavaria, Germany/De Agostini Picture Library/A. Dagli Orti/The Bridgeman Art Library. Page 14 Gustav Mahler. ©Boosey and Hawkes Collection/ArenaPal/The Image WorksInside back cover ©Peter Aaron ’68/Esto

The Richard B. Fisher Center for the Performing Arts at Bard College

Chair Jeanne Donovan Fisher

President Leon Botstein

presents

American Symphony Orchestra Leon Botstein, Music Director

Richard Wagner (1813–83)

Lohengrin (1848)

Preludes, Acts I and III

Tristan und Isolde (1857–59)

Prelude and Liebestod

Intermission

Die Walküre (1856)

Act I Sieglinde: Julie Makerov, sopranoSiegmund: Richard Cox, tenorHunding: Peter Volpe, bass

Sosnoff TheaterFriday, April 19, and Saturday, April 20 at 8 pmPreconcert talk at 7 pm by Christopher H. Gibbs

Running time for this evening’s concert is approximately two hours, with one20-minute intermission.

Notes on the Program

Richard WagnerBorn in Leipzig, May 22, 1813

Died in Venice, February 13, 1883

Lohengrin: Preludes to Acts I and III (1848)

Tristan und Isolde: Prelude and Liebestod (1857–59)

Die Walküre: Act I (1856)

This year marks the bicentennial of the two leading Romantic opera composers: RichardWagner and Giuseppe Verdi. Between them, this German and this Italian changed thegenre of opera forever, each in his own distinctively brilliant manner. Wagner’s influence,moreover, extended far beyond music, with significant consequences for the other arts, cul-tural life, and, unfortunately, politics. It is unprecedented for a composer, either before orsince, to have such an impact on writers, artists, philosophers, and filmmakers. To mentionjust literature, Wagner’s works proved of great importance for figures such as CharlesBaudelaire, Marcel Proust, James Joyce, and Thomas Mann.

More has been written about Wagner than about any other Western composer. The floodbegan with his own voluminous writings, which encompass reviews, fiction, drama, essays,and books, as well as diaries, countless letters, and a massive autobiography, My Life, cover-ing just the first half of his career. In addition Wagner wrote his own librettos. His compo-sitional output is also gigantic, although principally limited to dramatic music. The musiche produced as a teenager—piano works, songs, and even a symphony—is almost uni-formly mediocre; few composers ended up so far artistically from where they began.

Wagner composed 13 operas, the first three of which are rarely performed. In the 1840s hewrote The Flying Dutchman, Tannhäuser, and Lohengrin. After these “Romantic operas,” ashe called them, Wagner took off some years to reevaluate his artistic mission and producedlengthy writings in which he expounded a new theory of music drama. He began to putthis in action with a new project, his most ambitious, The Ring of the Nibelung, on which hetoiled for more than a quarter century. In the revolutionary year of 1848 he devised a prosesketch for an opera based on medieval legends called Siegfrieds Tod (Siegfried’s Death, laterrenamed Götterdämmerung or Twilight of the Gods). A few years later he realized that thiswork would need to be prefaced by a telling of earlier events in Siegfried’s life, and thussketched the libretto for Der junge Siegfried (Young Siegfried). Once again he felt that morebackground was necessary concerning the history of this mythic German hero and hisancestry. This led to Die Walküre (The Valkyrie), which explained the circumstances of his

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conception by the brother and sister Siegmund and Sieglinde. The librettos for a unifiedtrilogy now complete, Wagner decided to add an extended one-act prologue, DasRheingold (The Rhinegold).

Wagner based the Ring on a variety of literary sources, principally drawn from Norsemythology of the early 13th century, from the somewhat earlier German epic DasNibelungenlied, and from ancient Greece. Indeed, part of the ideological impetus behindthe project was to accomplish for the German nation what Sophocles and other classi-cal authors had done for Greece by dramatizing enduring mythology. Once he had writ-ten the librettos and published them in 1853—Wagner took his librettos entirelyseriously as independent dramatic works that could be released years before the actualoperas were composed—he began writing the music, which would occupy much of thenext 20 years. Das Rheingold was finished in 1854, Die Walküre by 1856, and Siegfried halfwritten when Wagner had a reality check: these enormous operas had slim prospects foractual staged performances. He put the Ring aside to write Tristan und Isolde and DieMeistersinger von Nürnberg. Only after completing those works, which assumed enor-mous proportions in themselves, did he return to Siegfried and Götterdämmerung, com-pleting the Ring in 1874. Part of Wagner’s phenomenal achievement was crafting soexpansive a four-part work—some 17 hours of music—that is unified both dramaticallyand musically. He did this in part by weaving an elaborate web of leitmotivs (leadingmotives), brief melodies associated with specific characters, places, objects, and conceptsthat recur and are transformed throughout the cycle.

The patronage of King Ludwig II of Bavaria, the most passionate of Wagnerians, madethe crucial difference in finally getting the Ring performed. At Ludwig’s insistence, butwithout Wagner’s participation, Das Rheingold and Die Walküre were mounted in Munichin 1869 and 1870. It was the construction of a new theater in Bayreuth, conceived of byWagner to stage his mature operas and heavily subsidized by Ludwig, which enabled thepremiere of the complete cycle in August 1876. The event, attended by many culturalluminaries, proved a great artistic success, although it was a financial disaster. There wasno festival for five years, until the presentation of his final opera, Parsifal, premiered a fewmonths before Wagner died at age 69 in February 1883.

As part of the effort to raise funds for Bayreuth, as well as to enlist subscribers in the ven-ture, Wagner gave concerts in which he presented excerpts from his operas. We mightthink of these as serving a purpose similar to movie trailers today—a preview of comingattractions. Some of the most famous parts of the Ring, such as the “Ride of the Valkyries,”were first heard in concert, sometimes with singers, sometimes not. The concert tonightpresents excerpts from three of Wagner’s operas that he programmed himself.

Wagner often chose selections from Lohengrin, the story of a mysterious knight of theHoly Grail. Tonight we hear the preludes to the first and last acts. The ethereal openingis delicately scored for divided strings playing in the highest register. In his typically florid

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prose manner Wagner described the glow of the Grail he meant to convey: “Out of theclear blue ether of the sky there seems to condense a wonderful yet at first hardly per-ceptible vision; and out of this there gradually emerges, ever more and more clearly, anangel host bearing in its midst the sacred Grail.” The opening of the third act could notbe more different: loud, with prominent brass and percussion, full of joy and energy. Thisbrief prelude is in three parts, ABA form, with a delicately scored processional middle sec-tion (“Here Comes the Bride”).

As mentioned, Wagner interrupted the composition of Siegfried in the summer of 1857 inorder to work on projects that he felt stood a better chance of being produced. He fin-ished Tristan und Isolde in 1859 and its prelude was performed in Paris the next year. (Thecomplete work was not staged until 1865.) Tonight we hear the opening prelude and aninstrumental rendering of the conclusion of the opera. The first harmony sounds thefamous “Tristan” chord, probably the most famous chord in the history of Western musicand one that seeks harmonic resolution—a wonderful musical metaphor Wagner usesto convey the sensuous longing between Tristan and Isolde that will remain unconsum-mated in the drama. That harmonic search for resolution continues for nearly five hoursuntil the chord’s final fulfillment in the last moments of Act III. Franz Liszt’s impressivepiano arrangement of Isolde’s concluding Verklärung (Transfiguration) gave rise to thefamiliar title Liebestod (Love-Death), the term Wagner had in fact originally given to theprelude. He described the beginning and end of the opera in a brief program note:

[Prelude] Taking on the role of suitor for his uncle, the king, Tristan bringsIsolde to him. They love one another. From the most timid complaint ofunquenchable longing, from the most delicate quivering, up through the mostfearsome outburst confessing a hopeless love, the feeling here traces everyphase of this hopeless struggle against inner passion––until, sinking backunconscious, that passion seems to be extinguished in death. [Transfiguration]And yet, what fate has kept apart in life now lives on, transfigured, in death:the gates to their union are open. Isolde, dying atop Tristan’s body, perceivesthe blessed fulfillment of her burning desire: eternal union in measurelessspace, no bounds, no fetters, indivisible!

Die Walküre has always been the most frequently performed of the Ring operas becauseit is easily detached as a self-contained story from the rest of the cycle. And beginningwith Wagner’s own programming, the first act alone has proved an attractive concertpiece. Lasting just about an hour, the act has only three characters: Siegmund, Sieglinde,and her repellent husband Hunding. The opera begins with an evocative orchestral intro-duction that serves both as a kind of prelude and marvelously sets the scene amidst astormy night in which Siegmund is being chased through a forest. He finds shelter in ahut where, unbeknownst to them both, his long-lost twin sister lives with Hunding,whose clan is his enemy. Wagner describes the scene:

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Siegmund, pursued by overpowering foes and on the point of exhaustion, hasfound his way to Hunding’s dwelling, where the young wife, Sieglinde,refreshes and cares for him. Soon the two of them begin to share mutual,unspoken intimations. Siegmund had a twin sister from whom he was sepa-rated in earliest childhood; throughout his wild and lonely youth he had neverencountered anything or anyone that spoke to him with a sense of intimate,familiar kinship. Sieglinde was likewise torn from her home at a tender age;scarcely had she reached maturity than she was given in marriage to a darkand ill-tempered man. The encounter with Siegmund awakens in her the senseof inner kinship that she, too, has longed to feel. To confirm her intuition, sherisks seeking out the guest during the night. He is overwhelmed to discoverher by his side, and he draws her close.

The act has three scenes. After the orchestral chase to start (in which various prominentleitmotivs parade by), Siegmund finds shelter. When Hunding returns home he is dis-pleased to see Siegmund but complies with the laws of hospitality by providing housingfor the night. After the three have shared an unpleasant meal together in whichSiegmund is questioned about his background, Sieglinde gives her husband a sleepingpotion so that she can continue the conversation. The longest and most intense part ofthe act is the extended third scene between them in which they gradually discover thatthey are not only long-lost brother and sister but also realize that they are deeply in love.Their incestuous relationship will lead to Siegmund’s death, but only after Sieglinde ispregnant with Siegfried, the hero of the final two Ring operas.

As their story unfolds in the first act Siegmund sings the famous “Winterstürme,” whichWagner programmed as a separate concert aria on occasion. Sieglinde tells him that amysterious wanderer (it turns out to have been Wotan, their father) has put a sword inthe ash tree which can only be extracted by a hero in need—this Siegmund accom-plishes, after which, with a symbolism one hardly needs to have read much Freud toappreciate, the following dialogue closes the act: “Are you Siegmund standing herebefore me? I am Sieglinde, who has longed for you, your own twin sister you have won atonce with the sword!” The hero responds: “Be bride and sister to your brother and thuswill flourish the Wälsung’s blood!” Wagner provides a concluding stage direction: “Hedraws her to him with passionate fervor. The curtain falls quickly.”

—Christopher H. Gibbs, James H. Ottaway Jr. Professor of Music, Bard College

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Who’s Who

Leon Botstein ConductorThis season, Leon Botstein celebrates his 20th anniversaryas music director and principal conductor of the AmericanSymphony Orchestra. He is artistic codirector of theacclaimed SummerScape and Bard Music festivals, whichtake place at Bard College’s Richard B. Fisher Center for thePerforming Arts, designed by Frank Gehry. Botstein is alsoconductor laureate of the Jerusalem Symphony Orchestra,where he served as music director from 2003–11. He hasbeen president of Bard College in New York since 1975.

Botstein has an active schedule as a guest conductor all over the world, and can be heardon numerous recordings, including operas by Strauss, Dukas, and Chausson, as well asworks of Shostakovich, Dohnányi, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière,Szymanowski, Brahms, Copland, Sessions, Perle, and Rands. Many of his live performanceswith the American Symphony Orchestra are now available for download on the Internet.

Leon Botstein is highly regarded as a music historian. He is the editor of The MusicalQuarterly and the author of numerous articles and books. In 2011 he gave the prestigiousTanner Lectures in Berkeley, California. For his contributions to music he has received theaward of the American Academy of Arts and Letters and Harvard University’s CentennialAward, as well as the Cross of Honor, First Class, from the government of Austria. In 2009

he received the Carnegie Foundation’s Academic Leadership Award, and in 2011 wasinducted into the American Philosophical Society. He is also the 2012 recipient of theLeonard Bernstein Award for the Elevation of Music in Society.

Richard CoxThis season, American tenor Richard Cox returns to theMetropolitan Opera as Froh in Das Rheingold and makes hisdebut at the New Orleans Opera as the title role in Samsonet Dahlila. A former ensemble member at Oper Frankfurt,Cox appeared in several new productions there, includingThe Tempest, Arabella, Owen Wingrave, and Das Rheingold(which was recorded by Oehms Classics). He also appearedas Florestan in Fidelio, Peter Quint in Turn of the Screw, andAegisthus in Elektra. Other recent opera engagements haveincluded Malcolm in Macbeth at the Metropolitan Opera;

Don José in student performances of Carmen at the Lyric Opera of Chicago; Bacchus inAriadne auf Naxos and Sergei in Lady Macbeth of Mtsensk, both at the Teatro Municipal deSantiago de Chile; Ruprecht in Viktor Ulmann’s Der zerbrochene Krug at the Los Angeles

©joanne savio

©arielle doneson

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Opera (released on DVD for Arthaus Musik); Adolar in Weber’s Euryanthe at theStaatsoper Dresden; and Claudio in the first fully staged North American production ofWagner’s Das Liebesverbot at Glimmerglass Festival.

An accomplished concert singer and recitalist, Cox was on the roster of the MarilynHorne Foundation and made his New York recital debut in the On Wings of Song series.He has also appeared with the Seattle Symphony, National Symphony Orchestra,American Symphony Orchestra, Orchestra of St. Luke’s at Carnegie Hall, Avery Fisher Hall,and the Kennedy Center.

Julie Makerov“Julie Makerov as Senta . . . was every inch the ringing lifeforce Wagner intended” (Toronto Star). As winner of the 2010

Dora Award, Canada’s most prestigious live theater honor,Makerov was recognized for her compelling portrayals ofSenta in Wagner’s Der fliegende Holländer and the goddessFreia in the Ring cycle (“Makerov’s plush soprano voice andvulnerability were ideal for the goddess Freia,” said the NewYork Times). Her future engagements include making herdebut with the Lyric Opera of Chicago and bringing her inter-nationally acclaimed Tosca to the Canadian Opera Company.

In the 2012–13 season, Makerov will make her company and role debut as Gertrude inHänsel und Gretel with Lyric Opera of Chicago, and joins Los Angeles Opera for its pro-duction of Der fliegende Holländer. Recent performances include the Queen of Hearts inthe North American premiere of Unsuk Chin’s Alice in Wonderland for Opera Theatre ofSt. Louis; the role of Margherita in Boito’s Mefistofele; the title role in Dvorák’s Rusalka;and Donna Elvira in Don Giovanni with the Canadian Opera Company. She also returnedto her native Los Angeles to perform a concert of arias and songs titled Songs in the Earthand Air in conjunction with the USC Fisher Museum of Art.

Peter VolpeAmerican bass Peter Volpe continually receives critical andpopular acclaim on four continents. Possessing a vast andever-expanding repertoire of more than 80 roles in six lan-guages, his captivating style and interpretive skill embracesthe depth of historical and fictional characters. Of a recentportrayal as Prince Gremin in Eugene Onegin, Opera Newssaid he “managed to create in his single aria and scene animpressive dignity. His full-bodied bass and great candor oftone, together with his intelligent interpretation, won hima well-deserved ovation.” In the current season and beyond,

©kristin hoebermann

©opera news

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performances include Ramfis in Aida at Michigan Opera Theatre, Sparafucile in Rigolettoat Manitoba Opera, Ferrando in Il Trovatore at Arizona Opera, Zuniga in Carmen at theFlorentine Opera, the bass soloist in Verdi’s Requiem with the New Jersey Symphony andChattanooga Symphony, and his role debut as Daland in Der fliegende Holländer withGlimmerglass Opera. In addition, he will perform Raimondo in Lucia di Lammermoor withPortland Opera, Philip II in Don Carlo at Vancouver Opera and Austin Lyric Opera, andMarquis of Calatrava in La forza del destino with Washington National Opera.

The American Symphony OrchestraThe American Symphony Orchestra (ASO) was founded 50 years ago by LeopoldStokowski, with the specific intention of making orchestral music accessible and afford-able for everyone. Under music director Leon Botstein, the ASO has kept Stokowski’s mis-sion intact, and has also become a pioneer in what the Wall Street Journal called “a newconcept in orchestras,” presenting concerts curated around various themes drawn fromthe visual arts, literature, politics, and history, and unearthing rarely performed master-works for well-deserved revival. These concerts are performed in the Vanguard Series atCarnegie Hall.

In addition, the orchestra performs in the celebrated concert series Classics Declassifiedat Peter Norton Symphony Space, and is the resident orchestra of The Richard B. FisherCenter for the Performing Arts at Bard College, where it appears in a winter subscriptionseries as well as Bard’s annual SummerScape and the Bard Music Festival. In 2010, theAmerican Symphony became the resident orchestra of The Collegiate Chorale, perform-ing regularly in the Chorale’s New York concert series. The orchestra has made severaltours of Asia and Europe, and has performed in countless benefits for organizationsincluding the Jerusalem Foundation and PBS. ASO’s award-winning music education pro-gram, Music Notes, integrates symphonic music into core humanities classes in highschools across the tristate area.

In addition to many albums released on the Telarc, New World, Bridge, Koch, andVanguard labels, many live performances by the American Symphony are now availablefor digital download. In many cases, these are the only existing recordings of some of therare works that have been rediscovered in ASO performances.

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The American Symphony OrchestraLeon Botstein, Music Director

Violin IErica Kiesewetter,

ConcertmasterYukie HandaDiane BruceElizabeth NielsenJohn ConnellyAshley HorneAnn LabinKatherine HannauerMara MilkisNazig TchakarianAnn GilletteDavid Steinberg

Violin IISuzanne Gilman, PrincipalRobert ZubryckiWende NamkungHeidi StubnerDorothy StrahlAlexander VselenskyLucy MorgansternKathryn AldousLisa TiptonLisa Steinberg

ViolaWilliam Frampton, PrincipalSally ShumwayCrystal GarnerAdria BenjaminLouis DayArthur Dibble Emily BasnerAlyssa Hardie

CelloEugene Moye, PrincipalAnnabelle HoffmanMaureen HynesTatyana MargulisElina LangAnik OulianineLanny PaykinMatthew Beckman

BassTony Flynt, PrincipalJack WengerLouis BrunoRichard OstrovskyWilliam SloatLisa Chin

FluteLaura Conwesser, PrincipalRie SchmidtDiva Goodfriend-Koven,

PiccoloKarla Moe

OboeAlexandra Knoll, PrincipalErin GustafsonKatherine HalvorsonLaura Covey, English horn

ClarinetLaura Flax, PrincipalMaureen HurdDaniel SpitzerLino Gomez

BassoonCharles McCracken, PrincipalMark TimmermanGilbert Dejean,

Contrabassoon

HornZohar Schondorf, PrincipalDavid SmithSara CyrusShelagh AbateKyle Hoyt, Assistant

Wagner TubaAdam KrauthamerIan DonaldAaron KornWilliam DeVos

TrumpetJohn Sheppard, PrincipalJason CoveyPaul Murphy

Bass TrumpetKeith Green

TromboneKenneth Finn, PrincipalBradley WardJeffrey CaswellMark Johansen

TubaKyle Turner, Principal

TimpaniJonathan Haas, Principal

PercussionJavier Diaz, PrincipalCharles DescarfinoMatthew Beaumont

HarpSara Cutler, PrincipalMegan Levin

Personnel ManagerAnn Yarbrough Guttman

Assistant ConductorGeoffrey McDonald

Orchestra LibrarianMarc Cerri

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Stokowski SocietyThe Frank & Lydia Bergen

FoundationMichael DorfThe Fan Fox & Leslie R. Samuels

Foundation, Inc.Jeanne Donovan FisherThe Booth Ferris FoundationDanny Goldberg and

Rosemary CarrollFaith Golding Foundation, Inc.Rachel and Shalom KalnickiPeter LindenNew York City Department of

Cultural AffairsNew York State Council on the ArtsOpen Society InstituteRobert Rauschenberg FoundationThurmond SmithgallFelicitas S. ThorneThe Winston Foundation

Sustaining Supporter Dr. Leon BotsteinThe Ann & Gordon Getty

FoundationMary and Sam MillerDimitri B. PapadimitriouMrs. James P. WarburgMr. and Mrs. Richard E. Wilson

Distinguished Patron The Elroy & Terry Krumholz

FoundationLynne Meloccaro

Golden CircleJoel and Ann BersonEric CzervionkeGary M. GiardinaPeter L. KennardArthur S. LeonardDr. Pamela F. MazurJoAnne MeloccaroShirley A. MuellerJoseph and Jean SullivanThe David & Sylvia Teitelbaum

Fund, Inc.Irene Zedlacher

BenefactorAnonymousMiriam R. BergerPatricia K. FaberKaren and Mark FinkbeinerIrwin and Maya HoffmanIBM CorporationJack Kliger

William McCracken and Cynthia Leghorn

Marcia H. MoorRichard and Joanne MrstikMr. and Mrs. David E. Schwab IIDavid and Martha SchwartzPeter SourianAllan and Ronnie Streichler,

in honor of Leon Botstein

ContributorTania AhujaGary M. ArthurDavid Beek and Gayle ChristianThomas CassillyIsabelle A. CazeauxRichard C. CellerBette R. CollomMary S. DonovanMr. and

Mrs. Joseph Lawrence GilmanRhea Graffman-Cohen,

in honor of Miriam BergerEva Botstein GrieppMax HahnSara HunsickerErica KiesewetterMichael KishbauchIrving KleimanJohn D. KnoernschildPeter KrollAlan MallachJeanne MalterKaren ManchesterStephen McAteerSally McCrackenLisa Mueller and Gara LaMarcheTatsuji NambaJames and Andrea NelkinLawrence NylenKurt Rausch LLCHarriet SchonJon P. TilleyKenneth WaldLarry WehrRobert WeisWayne and Dagmar Yaddow

Orchestra ClubHarold P. AllenAmerican Express Gift Matching

ProgramEllis ArnsteinCarol H. AshRonald BaranowskiCarol K. Baron

Ruth BaronMatthew and Debra BeatriceYvette and Maurice J. BendahanAdria BenjaminJohn BrautigamMona Yuter BrokawPatricia R. BrophyMarjorie L. Burns,

in memory of Marden BateRoger ChatfieldBarbara ClapmanMichele ConeMary M. CopeDiana DavisElisabeth DerowAntonio DiezRuth Dodziuk-JustitzRobert DurstPaul EhrlichExxon Mobil FoundationRichard FarrisW. J. FenzaMartha FerryDonald W. FowleDeborah FrancoLyudmila GermanChristopher H. GibbsMacEllis K. GlassJune GoldbergGreenwich House, Inc.Nathan GrossJohn HaggertyLaura HarrisJames HaydenRoberta HershensonDr. and Mrs. Gerald HerskowitzDeb HoffmanEric S. HoltzGeorge H. HutzlerJose JimenezDonald JulianoRonald S. KahnRobert KalishDavid KernahanCaral G. KleinAdnah KostenbauderRobert LaPorteGerald LaskeySteve LeventisWalter LeviJudd LevyPeter A. LockerHarvey Marek

American Symphony Orchestra PatronsThe American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the followingindividuals, foundations, corporations, and government agencies for their vital support. While space permits usonly to list gifts made at the Orchestra Club level and above, we value the generosity of all donors.

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Ellen Marshall, in honor of Louis Marshall

Alan B. McDougallRichard and Maryanne

MendelsohnJune MeyerClifford S. MillerPhyllis MishkinAlex MitchellJudith MonsonElisabeth J. MuellerMarin L. and Lucy Miller Murray,

in honor of Leon BotsteinKenneth NassauMaury NewburgerJacob and Suzanne NeusnerJames NorthSandra NovickJill ObrigThomas O’MalleyJames OttawayRoger PhillipsBruce RaynorAnthony RichterThe Kauter Riopelle FamilyKenneth RockLeonard RosenPeri RosenfeldHenry SaltzmanLeslie SalzmanEmil and Nina C. SchellerHarriet SchonJanet Z. SegalGeorgi ShimanovskyBruce SmithJohn SowleStanley StangrenGertrude SteinbergAlan StenzlerHazel and Bernard StraussPaul StumpfAndre SverdloveLorne TaichmanMadeline V. TaylorWilliam UlrichJames WagnerRenata WeinsteinBarbara WestergaardJanet WhalenAnn WilliamKurt WissbrunLeonard ZablowMark ZarickAlfred ZollerKaren Zorn, Longy School of Music

of Bard College

Music plays a special part in thelives of many New York residents.The American Symphony Orchestragratefully acknowledges the support of the following government agencies that havemade a difference in the culture of New York: New York State Council on the ArtsThe Honorable Andrew M. Cuomo,

GovernorThe New York City Department of

Cultural AffairsThe Honorable Michael R.

Bloomberg, MayorThe Honorable Kate D. Levin,

Commissioner

List current as of March 19, 2013

The American Symphony OrchestraBoard of DirectorsDanny Goldberg, ChairThurmond Smithgall, Vice ChairDimitri B. Papadimitriou, Treasurer

Miriam BergerMichael DorfRachel KalnickiJack KligerJan KrukowskiShirley A. MuellerEileen RhulenFelicitas S. ThorneHonorary Members:Joel I. Berson, Esq.L. Stan Stokowski

AdministrationLynne Meloccaro, Executive

DirectorOliver Inteeworn, General ManagerBrian J. Heck, Director of MarketingNicole M. de Jesus, Director of

DevelopmentSebastian Danila, Library ManagerMarielle Métivier, Operations

ManagerKatrina Herfort, Ticketing Services

CoordinatorMarc Cerri, Orchestra LibrarianAnn Yarbrough Guttman,

Orchestra Personnel ManagerBen Oatmen, Production AssistantJames Bagwell, Principal Guest

ConductorGeoffrey McDonald, Assistant

ConductorZachary Schwartzman, Assistant

ConductorRichard Wilson, Composer-in-

ResidenceLeszek M. Wojcik, Concert Archival

Recording

The Richard B. Fisher Centerfor the Performing Arts at Bard College

presents

Gustav Mahler’sSymphony No. 2

Conducted by Leon Botstein, Music DirectorHeather Buck, sopranoJamie Van Eyck, mezzo-soprano

Members of the American Symphony Orchestra, Bard College Conservatory Orchestra, and Longy Conservatory Orchestra

Bard Chamber Singers, Bard Festival Chorale, and Cappella Festiva, James Bagwell, Chorus Master

sosnoff theater

Friday, April 26, and Saturday, April 27

7 pm Preconcert Talk | 8 pm Performance

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BARDSUMMERSCAPE 2013

DANCE/THEATER JULY 6–7

A RiteBill T. Jones/Arnie Zane Dance Company and SITI Company

THEATER JULY 11–21

World Premiere Adaptation

The Master and Margaritaafter the novel by Mikhail Bulgakov

OPERA JULY 26 – AUGUST 4

Oresteiaby Sergey Taneyev

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Stravinsky’s Legacy and Russian Émigré Cinema

SPIEGELTENT JULY 5 – AUGUST 18

Cabaret, music, fine dining, and more

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THE 24TH ANNUAL BARD MUSIC FESTIVAL

AUGUST 9–11 and 16–18

Stravinsky and His World

The 2013 SummerScape season and the 24th Bard Music Festival are made possible in part through the generous support of the Board of The Richard B. Fisher Center for thePerforming Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts and the New York State Council on the Arts.